An Italian immigrant and his son seek a new life after fleeing violence in their home country.An Italian immigrant and his son seek a new life after fleeing violence in their home country.An Italian immigrant and his son seek a new life after fleeing violence in their home country.
Fred Aldrich
- Barfly
- (uncredited)
John Breen
- Townsman
- (uncredited)
Charles Fogel
- Barfly
- (uncredited)
Ethan Laidlaw
- Townsman
- (uncredited)
Forbes Murray
- Party Guest
- (uncredited)
Clark Ross
- Party Guest
- (uncredited)
Ray Spiker
- Barfly
- (uncredited)
Storyline
Did you know
- GoofsWhen Mario defiantly goes into the corral with a lariat rope, he doesn't close the gate behind him, and it is seen swinging open after he walks toward the horses. Seconds later when Hoss goes to see why the horses are excited, the gate is latched closed.
- Quotes
Nick Biancci: I hate violence because I was born into violence!
Featured review
Idolizing Hoss...
Ross Martin guests as an Italian immigrant and single father making his way from San Francisco to New York City in order to finance his young son's gift for the classical guitar; the two stop off in Virginia City to find temporary work and raise the ire of a couple of roughnecks who seem to have no course of business other than being bullies. This was a common thread in the "Bonanza" stories: innocents challenged by lawless brutes, with the Cartwrights involved for moral (and sometimes financial and physical) support. Here, it's Hoss and Adam who bring the father and son back to the ranch to cook and entertain (seems Hop Sing is away visiting a sick family member), but the villains aren't far behind. Martin's Italian accent is heavy on the Prego Prego, while Michael Davis is curiously out-of-place playing his son (a year later, Davis turned up in Disney's "The Moon-Spinners" as a Greek kid, again having trouble with his English). The gist of this plot, that you shouldn't mess with cowards because everyone's got a fighter underneath, is a bit askew, but the hero-worship sub-plot between Davis and Dan Blocker's Hoss had intriguing possibilities not explored here (and couldn't have been, at least not with psychological depth). A middling episode in the series, which once again puts the focus on select Cartwrights, leaving Michael Landon's Little Joe in the background.
helpful•80
- moonspinner55
- May 19, 2007
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